{"product_id":"shino-ware-kikusen-kiln-tanaka-gen-ya-matcha-bowl-signed-tomobako-feldspar-glaze-chawan","title":"Shino Ware Kikusen Kiln Tanaka Gen-ya Matcha Bowl — Signed Tomobako, Feldspar Glaze Chawan","description":"Experience Authentic Japan Art with this Shino Ware Matcha Bowl. This Kikusen Kiln Chawan serves as a Japanese Tea Ceremony Bowl and Wabi Collector Ceramics, featuring Chrysanthemum Scroll Motif and Warm Feldspar Glaze—a must-have for any Art Collector.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Tanaka Gen-ya (田中源也)\u003cbr\u003e• Kiln: Kikusen-gama (菊泉窯)\u003cbr\u003e• Style: Shino-yaki (志野焼) — Mino-tradition white feldspar glaze\u003cbr\u003e• Technique: Wheel-thrown, painted chrysanthemum scroll (kiku-karakusa), thick milky glaze with signature Shino hi-iro (flame blush)\u003cbr\u003e• Era: Heisei period (1990s–2000s)\u003cbr\u003e• Origin: Japan (Mino \/ Gifu tradition)\u003cbr\u003e• Dimensions: Diameter approx. 12 cm \/ Height approx. 9 cm\u003cbr\u003e• Box: Original tomobako (共箱) inscribed 志野茶碗 菊泉窯\u003cbr\u003e• Condition: No chips or cracks; hi-iro blush and pinhole texture are natural to Shino glaze — excellent\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eShino ware holds a singular place in the history of Japanese ceramics: it is the first glaze developed entirely on Japanese soil, without Chinese precedent. Born in the Mino kilns of present-day Gifu Prefecture in the late Momoyama period (late 16th century), Shino became the embodiment of wabi—the aesthetic of rustic imperfection embraced by the tea master Sen no Rikyu and his heirs. Its characteristic thick, milky-white feldspar glaze is fired at high temperature until it bubbles, pits, and scorches in places, admitting the orange-red blushing of the iron-bearing clay beneath—what potters call hi-iro, or \"fire color.\"\u003cbr\u003e\u003cbr\u003eTanaka Gen-ya of Kikusen-gama carries this tradition with studied attention to the Momoyama originals. The chrysanthemum scroll (kiku-karakusa) painted in underglaze iron oxide across the bowl's belly is a classical Shino motif—its sketchy, almost calligraphic lines intentionally spontaneous, echoing the brushwork of Momoyama-period ko-Shino pieces. Where the glaze pools thickly, it reads bluish-white; where it thins over the painted areas, the iron pigment bleeds through in warm grey-brown. The two registers of color—glaze and underglaze—hold a conversation rather than a composition.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThis chawan has the characteristic silhouette of a Shino tea bowl: squat, full-bellied, with a wide mouth that opens generously to meet the hand. The rim is gently irregular—not dramatically so, but enough to give the bowl a quality of being made, not manufactured. Where the glaze ends at the foot, the warm clay body peeks out in rust-orange, a color that anchors the cooler white of the glaze surface.\u003cbr\u003e\u003cbr\u003eThe chrysanthemum motif carries multiple registers of meaning in Japanese culture. It is the imperial emblem, yes—but in the context of tea ceramics it reads more intimately, as an autumn flower associated with long life (kiku-no-kai, chrysanthemum gatherings, were Heian court festivals celebrating aging gracefully). On a Shino bowl, painted with such ease and informality, the chrysanthemum becomes less a symbol and more a gesture—a flicker of plant life glimpsed through a snow-fogged window.\u003cbr\u003e\u003cbr\u003eThe hi-iro orange flashes on the lower body and foot area are particularly vivid on this piece, suggesting good kiln placement and an alert firing eye. These marks of the fire are, in traditional Shino appreciation, among the most prized qualities—proof that this bowl was forged in real flame, with real risk, and carries the evidence of that encounter on its skin.\u003cbr\u003e\u003cbr\u003eFor the collector who wants a genuinely usable Shino chawan from a named kiln, with provenance box and a sound art-historical tradition behind it, this piece is honest and complete.\u003cbr\u003e\u003cbr\u003e---\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e作者：田中源也\u003cbr\u003e窯：菊泉窯\u003cbr\u003e様式：志野焼（美濃・岐阜系統）\u003cbr\u003e技法：轆轤成形・鉄絵（菊唐草）・長石釉・緋色\u003cbr\u003e寸法：径 約12cm \/ 高さ 約9cm\u003cbr\u003e共箱：「志野茶碗 菊泉窯」墨書\u003cbr\u003e状態：ヒビ・カケなし。緋色と焼け肌は志野焼本来の景色。\u003cbr\u003e\u003cbr\u003e【文化的背景・作品解説】\u003cbr\u003e志野焼は、日本の窯で生まれた最初の白釉として知られる桃山陶芸の金字塔。厚みのある長石釉が高温で焼かれ、気泡・ピンホール・緋色が生まれる——その「窯変」こそが志野の生命線である。田中源也の菊泉窯は、この桃山の精神を現代に引き継ぐ。腹部を巡る鉄絵の菊唐草は書の如く速く伸びやかに描かれ、長石釉の白との対比が美しい。\u003cbr\u003e\u003cbr\u003e菊は日本において長寿と秋の象徴であり、茶陶の世界では親しみ深いモチーフ。この茶碗では絵付けとしての菊が釉薬の景色と溶け合い、格式と侘びの両面を持つ器となっている。実際に抹茶を点てて使うことのできる、完成度の高い現代志野の一碗。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61744700457330,"sku":"260408_a_2679","price":597.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m65874403562_1.jpg?v=1775612479","url":"https:\/\/checkout.themodernzenarchive.com\/products\/shino-ware-kikusen-kiln-tanaka-gen-ya-matcha-bowl-signed-tomobako-feldspar-glaze-chawan","provider":"The Modern Zen Archive","version":"1.0","type":"link"}